snuffboxes - Synonyms for snuffboxes | Synonyms Of snuffboxes

Examples of "snuffboxes"
In addition to his work on fiddle tunes, he was the expert on the use of the fife in traditional American music. He is fondly remembered by former students for his large collection of snuffboxes, which he used regularly.
The gallery also specializes in European and American antique jewelry, 18th-century European gold snuffboxes, and antique Russian decorative arts, including silver, enamel, and porcelain, as well as Russian paintings, icons, and furniture.
In March 1902, an egg identical to the egg recovered in 2012 was photographed "in situ" with other treasures of the Dowager Empress Maria Feodorovna in the Von Dervais Mansion Exhibition in St. Petersburg. The exhibition was titled "Fabergé artifacts, antique miniatures and snuffboxes" which suggests the objects which are not miniatures or snuffboxes are from Fabergé (Palmade and Palmade 2011). The photograph from this exhibit survives and the egg identified in 2011 as the "Third Imperial Egg" is seen sitting in a vitrine in which the other eleven visible eggs are all identifiable as Fabergé eggs belonging to Maria Feodorovna (Palmade and Palmade 2011).
Exactly when and who made the first porcelain Limoges snuffbox is up for debate. There were soft paste Faience snuffboxes that were produced sometime around 1730. These antique snuffboxes cannot be identified by back stamp marks, for none were put on them. There were though four big factories that made the original Limoges snuff boxes at the time, Chantilly(1725–1800), Saint Cloud(1677–1766), Mennecy(1734–73), and Vincennes(1740–56), which became Royal Sèvres(1756–present), though often independent artists of the time would commonly create them with no signature or marking.
A chinaman is a dealer in porcelain and chinaware, especially in 18th-century London, where this was a recognised trade; a "toyman" dealt additionally in fashionable trifles, such as snuffboxes. Chinamen bought large quantities of china imported by the East India Company, who held auctions twice a year in London. The traders then distributed chinaware throughout England.
Huis Doorn opened its doors as a historic house museum in 1956. It was just as Wilhelm left it, with marquetry commodes, tapestries, paintings by German court painters, porcelains and silver. Wilhelm's collections of snuffboxes and watches that belonged to Frederick the Great are considered by some to be the most interesting of the artifacts.
It was transferred to Germany in 1871, with the Treaty of Frankfurt following the Franco-Prussian War. From 1871 to 1918 it formed part of the German imperial province of Alsace-Lorraine and manufactured plush velvet, leather, porcelain, and earthenware, and was a chief depot for papier-mâché boxes, mostly used for snuffboxes. It was returned to France after World War I.
The museum is located within a storefront, and contains a collection of smoking objects including European pipes, 17th century clay pipes, Native American ceremonial pipes, hookahs, Chinese opium pipes, Egyptian sheeshas, and snuffboxes, as well as cigars, tobacco samples, hemp-fiber clothing, and etchings, portraits, photographs, videos, and scientific drawings of tobacco plants.
The term is also applied to monochrome painting in enamels. This technique uses a buildup of white enamel to create highlights and light areas. However, instead of using a black background, as in grisaille, transparent enamel is laid in first, beneath the whites. This technique is frequently used on snuffboxes, watches and medallions.
The box was presumably made by a sailor who did not recognize the value of the tablet. Since snuffboxes were more popular in the early part of the nineteenth century than later, when cigarettes became popular, it would likely have been acquired earlier than most surviving rongorongo texts.
Like many of the day, Turner was a habitual user of snuff; in 1838 the King of France, Louis-Philippe, presented a gold snuff box to him. Of two other snuffboxes, an agate and silver example bears Turner's name, and another, made of wood, was collected along with his spectacles, magnifying glass and card case by an associate housekeeper.
Until 1923, the castle housed the Ruffin barracks. It was bought by the town in 1903 and today is home to the Dieppe museum with its collection of ivories (crucifixes, rosaries, statuettes, fans, snuffboxes, etc.), maritime exhibits and the papers and belongings of Camille Saint-Saëns.
He moved to London during the 1720s and married Mary Guynier. Surviving metal works by him include elaborate gold snuffboxes and watch-cases (including movements by noted watchmakers George Philip Strigel and John Ellicott, among others), and silver candlesticks in the Rococo style.
Cravings for New World stimulants such as coffee and sugar may have motivated people to work harder to obtain money to supply these new habits. Along with this, the accessory implements that were necessary for many of these new goods (such as tobaccos and coffee) led to a new professions aimed at manufacturing clay pipes, snuffboxes, porcelain chocolate pots etc.
Carriera's mother taught her the art of lace making, but the artworks she became famous for were a result of her own self learning. Despite this, there are many speculations surrounding her education in art. It is said that the French painter Jean Steve encouraged her to make miniatures on ivory to decorate the lids of snuffboxes. Some also claim that she received initial instruction in oil technique from the Venetian painter Giuseppe Diamantini.
These portraits could also be found on various other trinkets, framed by precious stones on the lids of toothpick containers, snuffboxes and other small vessels. They would sometimes contain locks of hair gifted by the sitter to further accentuate the sentimentality of the piece. The hair could either be incorporated into the portrait itself or encased behind glass or crystal on the piece of jewelry.
Horatio McCulloch was trained in the studio of the Glasgow landscape painter John Knox (1778–1845) for about one year alongside David Macnee (1806–1882) and at first earned his living as a decorative painter. He was then engaged at Cumnock, painting the ornamental lids of snuffboxes, and afterwards employed in Edinburgh by William Home Lizars, the engraver, to colour the illustrations in Prideaux John Selby's "British Birds" and similar works.
Today snuffboxes are collected at many levels – the high-end of the market being reserved for gold boxes that have been jewelled or have original art work on them, or boxes with provenance linking them to world figures, such as Napoleon or Lord Nelson. Some of the most expensive are French and German 18th century examples, and the record auction price for a German box is £789,250 (about US$1.3 million), bid in 2003 at Christie's in London.
Clever Victorian entrepreneurs not only created new tartans, but new tartan objects called "tartanware". Tartan was incorporated in an assortment of common household objects, such as snuffboxes, jewellery cases, tableware, sewing accessories, and desk items. Tourists visiting the Scottish Highlands went home with it, and Scottish-based businesses sent tartanware out as gifts to customers. Some of the more popular tartans were the "Stewart", "McDonald", "McGregor", "McDuff", "MacBeth", and "Prince Charlie". Today tartanware is widely collected in England and Scotland.
Back in London, Vaux soon resumed his dishonest activities. Assuming the appearance of a gentleman, he stole chains, brooches and rings from jewellers' shops as well as the pocket books and snuffboxes of fellow theatre patrons. His activities continued undetected for some time until in November 1808 he was arrested and narrowly escaped conviction at his trial the following month for the theft of a silver snuffbox.